first edition custom folder
1944 · np
by CAMUS, ALBERT
np: np, 1944. first edition. custom folder. Fine. COMPLETE MANUSCRIPT DRAFT OF AN INTRODUCTION TO HIS PLAY, LE MALENTENDU, WITH A CLEAR STATEMENT OF HIS PHILOSOPHY AND LIFE’S WORK. WITH IMPORTANT PROVENANCE. Writing in the third person, Camus compares Le Malentendu to L’Étranger, reveals his dramatic techniques and aims, places Le Malentendu in the context of his work, namely exploring the experience of “exile and estrangement,” before concluding with a powerful and clear statement of his philosophy:
“The author wishes to emphasize that the apparent pessimism of this play is neither absolute nor final. Beneath its bleak surface lies a more profound optimism: one that asserts that, once man is stripped of his illusions and abandoned by his gods, he may, through action and rebellion, reclaim the only form of freedom that remains bearable to him.”
The manuscript was written as an introduction to his play – likely to be delivered to the audience – and differs from the version later published in book form. Le Malentendu premiered on June 24, 1944, at the Théâtre des Mathurins and it is almost certain this manuscript was written in 1943 or 1944. Autograph manuscript, [1943-44]; 2 pages (8 3/4 x 10 3/4 inches, rectos only), with deletions and corrections. Binder holes outside the text; fine condition. Housed is custom presentation folder.
Provenance:
From the collection of Fred Feinsilber, lot 263 from the sale of his collection (Sotheby’s October 11-12, 2006). The Feinsilber sale was a major event, covered internationally (for example, with a long article in The New York Times, Oct 6, 2006). While the Feinsilber collection spanned five centuries, from 1460 to 1960, and encompassed a diverse array of subjects, there was a strong emphasis on surrealist works, special copies, and unique items. Camus was a particular favorite of Feinsilber’s (with Feinsilber publicly discussing how he shared Camus’ world view) and his collection contained major works, manuscripts, and letters by Camus. One of the highlights of the entire sale, in fact, was Camus’s autograph manuscript for Le Mythe de Sisyphe, selling for 404,000 EURO and now housed at the Beinecke Rare Book and Manuscript Library.
The complete text [in English] - the French text is available upon request:
[Page 1]
The Théâtre des Mathurins will soon be staging its first performances of ……
Le Malentendu is a play that, at first glance, appears to pose no particular challenge for the director. Whether by design or instinct, the author adheres to the classical unity of three acts: a tragic tale unfolding within the confined setting of an inn, over the span of twenty-four hours. The author had already explored this theme in his earlier work L'Étranger, published in 1941. Though some elements have been altered, the central premise remains largely intact—but it serves merely as a narrative pretext. Inspired by a real-life incident that occurred in a small Czechoslovakian town where the author once stayed, Camus seems intent on shaping a tragedy of exile and estrangement. Undoubtedly, the themes developed in this piece echo those found throughout the author's broader œuvre. Yet this deeper resonance may only reveal itself to the discerning eye of the informed spectator.
Everything is stripped down to its purest essence. Yet, the unique nature of the text placed before us revealed far deeper and more complex challenges.
[Page 2]
By his own admission, the author sought to craft what might be called a “tragedy in a suit”—a work rooted in contemporary realism, yet imbued with a sense of the tragic. However, in doing so, he detaches the narrative, the tradition, and the myth from their original, elevated context. Le Malentendu endeavors to transplant the grand themes of classical tragedy into a modern setting. This ambitious fusion gave rise to significant challenges, the foremost being that of tone. Legendary heroes can naturally assume a tragic register; their remoteness from our everyday lives shields them from appearing absurd. But characters in modern attire—figures of the present—must remain anchored in authenticity.
To resolve this tension, the author has attempted to...
1) Adopt a tone that is at once elevated enough to sustain the tragic dimension, yet natural enough to remain credible
2) Place the sense of distance not in the events themselves, but in the very nature of the characters
3) Carefully modulate the progression of tone and dramatic effect—so that both the language and the characters, initially grounded in realism, gradually ascend from act to act toward a more mythic register.
This challenge of tone extended naturally to the performers and the director. And it is here that the true challenge lay. No attempt was made to resolve it other than through a spirit of perfect and sympathetic collaboration between the actors and the author himself. Judging by the audience's reaction, it seems the challenge was indeed met.
One final word: the author wishes to emphasize that the apparent pessimism of this play is neither absolute nor final. Beneath its bleak surface lies a more profound optimism: one that asserts that, once man is stripped of his illusions and abandoned by his gods, he may, through action and rebellion, reclaim the only form of freedom that remains bearable to him. But on that matter, it is best to let the author speak for himself. (Inventory #: 2933)
“The author wishes to emphasize that the apparent pessimism of this play is neither absolute nor final. Beneath its bleak surface lies a more profound optimism: one that asserts that, once man is stripped of his illusions and abandoned by his gods, he may, through action and rebellion, reclaim the only form of freedom that remains bearable to him.”
The manuscript was written as an introduction to his play – likely to be delivered to the audience – and differs from the version later published in book form. Le Malentendu premiered on June 24, 1944, at the Théâtre des Mathurins and it is almost certain this manuscript was written in 1943 or 1944. Autograph manuscript, [1943-44]; 2 pages (8 3/4 x 10 3/4 inches, rectos only), with deletions and corrections. Binder holes outside the text; fine condition. Housed is custom presentation folder.
Provenance:
From the collection of Fred Feinsilber, lot 263 from the sale of his collection (Sotheby’s October 11-12, 2006). The Feinsilber sale was a major event, covered internationally (for example, with a long article in The New York Times, Oct 6, 2006). While the Feinsilber collection spanned five centuries, from 1460 to 1960, and encompassed a diverse array of subjects, there was a strong emphasis on surrealist works, special copies, and unique items. Camus was a particular favorite of Feinsilber’s (with Feinsilber publicly discussing how he shared Camus’ world view) and his collection contained major works, manuscripts, and letters by Camus. One of the highlights of the entire sale, in fact, was Camus’s autograph manuscript for Le Mythe de Sisyphe, selling for 404,000 EURO and now housed at the Beinecke Rare Book and Manuscript Library.
The complete text [in English] - the French text is available upon request:
[Page 1]
The Théâtre des Mathurins will soon be staging its first performances of ……
Le Malentendu is a play that, at first glance, appears to pose no particular challenge for the director. Whether by design or instinct, the author adheres to the classical unity of three acts: a tragic tale unfolding within the confined setting of an inn, over the span of twenty-four hours. The author had already explored this theme in his earlier work L'Étranger, published in 1941. Though some elements have been altered, the central premise remains largely intact—but it serves merely as a narrative pretext. Inspired by a real-life incident that occurred in a small Czechoslovakian town where the author once stayed, Camus seems intent on shaping a tragedy of exile and estrangement. Undoubtedly, the themes developed in this piece echo those found throughout the author's broader œuvre. Yet this deeper resonance may only reveal itself to the discerning eye of the informed spectator.
Everything is stripped down to its purest essence. Yet, the unique nature of the text placed before us revealed far deeper and more complex challenges.
[Page 2]
By his own admission, the author sought to craft what might be called a “tragedy in a suit”—a work rooted in contemporary realism, yet imbued with a sense of the tragic. However, in doing so, he detaches the narrative, the tradition, and the myth from their original, elevated context. Le Malentendu endeavors to transplant the grand themes of classical tragedy into a modern setting. This ambitious fusion gave rise to significant challenges, the foremost being that of tone. Legendary heroes can naturally assume a tragic register; their remoteness from our everyday lives shields them from appearing absurd. But characters in modern attire—figures of the present—must remain anchored in authenticity.
To resolve this tension, the author has attempted to...
1) Adopt a tone that is at once elevated enough to sustain the tragic dimension, yet natural enough to remain credible
2) Place the sense of distance not in the events themselves, but in the very nature of the characters
3) Carefully modulate the progression of tone and dramatic effect—so that both the language and the characters, initially grounded in realism, gradually ascend from act to act toward a more mythic register.
This challenge of tone extended naturally to the performers and the director. And it is here that the true challenge lay. No attempt was made to resolve it other than through a spirit of perfect and sympathetic collaboration between the actors and the author himself. Judging by the audience's reaction, it seems the challenge was indeed met.
One final word: the author wishes to emphasize that the apparent pessimism of this play is neither absolute nor final. Beneath its bleak surface lies a more profound optimism: one that asserts that, once man is stripped of his illusions and abandoned by his gods, he may, through action and rebellion, reclaim the only form of freedom that remains bearable to him. But on that matter, it is best to let the author speak for himself. (Inventory #: 2933)
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